• The Journal of Fisheries Business Administration
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• v.22 no.1
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• pp.1-52
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• 1991

This study deals with the evolutional history of the holding and utilization of fisheries resources in Korea. Fisheries resources have the basic characteristics of the density dependent self-regulating renewable and common property resources, Irrational utilization of fisheries resources is mainly due to the unlimited access to the resources. The holding and utilization of fisheries resources in Koryo era was opened to everyone. But it was nationalized in the early Yi Dynasty. The purpose of its nationalization was to provent the paticular powered-man with their monoplized holding and to levy fisheries tax. Eoeop-peop, the first modern fisheries law in Korea, was enacted as a part of the invasion policy of Japan in 1908. With the japanese annexation of Korea in 1910, the Japanese Government established a new institutional system of fisheries as a part of an overall reformation of the institutional for an implementation of the colonial policy. It was very the new enacted Fisheries Law (Gyogyorei). Also the Government enacted compulsorily another new Fisheries Law (Chosen Gyogyorei) with its adjunct laws and regulations revise the institutional system of fisheries on May 1, 1930. After Eoeop-peop enactment, the fisheries resources in Korea could be used only under the license, permission, and statement. After Korea was from Japan in 1945, Korea Government at last enacted the new fisheries law (Susaneop-peop) in 1953. The goal of Susaneop-peop was to achive the general usage and protection of the fisheries resources, and to attain the development and democratization of the fishery in Korea. This law was amended 13 times until 1990. The license fishery have a legal right on the fishery, called a fishery rigt. This right means a right of exclusive occupation and utilization of a unit of the inshore fishing grounds. The main evolutional issues of license fishery are as the following : 1) the foundation of the exclusive usable fishery right(1911, Gyogyorei), 2) the deletion of the settled U9space lift net and settled space sein net fishery, and the expansion of the cooperative fishery-No.1, 2, and 3 type cooperative fishery-(3rd amendment, 1963), 3) the deletion of the No.2 and 3 type cooperative fishery, and the separation of the culturing fishery in No.1 and 2 type culturing fishery (13th amendment, 1990). The effective period of the license fishery was amended as the following : 1) 1908(Eoeop-peop) : within 10 years, renovation system, 2) 1929(Chosen Gyogyorei) : within 10 years, unlimited extension system, 3) 1971. 7th amendment : 10 years, renovation system, 4) 1972. 8th amendment : 10 years, only 1 extension system, 5) 1975. 9th amendment : 5-10 years, only 1 extension system, 6) 1990.13th amendment : 10 years, within 10 years of total extensional years. The priority order of the fishery license was established in 1953 (Susaneop-peop). The amendment of it is as follows : 1) 1953. enactment \circled1 the fishing grounds that the fishery right is extablished 1st order : the existing fishery right man, unlimited renovation 2nd order : the corporate that the regional fisherfolk organized 3rd order : the rest experienced fishermen \circled2 new fishing grounds 1st order : the corporate that the regional fisherfolk organized 2nd order : the rest experienced fishermen 2) 1971. 9th amendment \circled1 the fishing grounds that the fishery right is established 1st order : the existing fishery right man, unlimited renovation 2nd order : the Eochongye that the regional fisherfolk organized 3rd order : the regional fishery cooperative that the regional fisherfolk organized 4th order : the rest experienced fishermen \circled2 new fishing grounds 1st order : the Eochongye that the regional fisherfolk organized 2nd order : the regional fishery cooperative that the regional fisherfolk organized 3rd order : the rest experienced fishermen 3) 1981. 10th amendment \circled1 the inside of No.1 type cooperative fishing grounds 1st order : the Eochongye that the regional fisherfolk organized 2nd order : the regional fishery cooperative that the regional fisherfolk organized 3rd orer : the rest experienced fishermen 4) 1990. 13th amendment \circled1 No.1 type cultural fishery 1st order : the Eochongye that the regional fisherfolk organized 2nd order : the regional fishery cooperative that the regional fisherfolk organized 3rd order : the rest experienced fishermen \circled2 No.2 type cultural and settle fisher : general priority order The effective period of the permission fishery was amended 6 timed. First, it was within 5 years and renovation system (Eoeop-peop). Now it is 5 years and renovation system. The effective period of the statement fishery was amended 4 times. First, it was within 5 years, and then was amended within 3 years(Chonsen Gyogyorei). Now it is 5 years.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.1-11
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• 2014

This study aimed at investigating the content and meaning of royal garden(宮苑) sightseeing event in Pyoam Gang, sehwang's "Hogayugeumwongi" As the research method, descriptive research method was used, which is to consider and interpret the content and meaning in the historical records. Research results are summarized as follows. 1. "Hogayugeumwongi", which recorded the event that the King personally guided and explained the palace to the vassals, is a very precious historical records in Korean landscape gardening cultural history. Such thing is unprecedented in Joseon Dynasty as well as China. 2. The person who recorded this event was famous for shi seo hwa samjeol in the time, and the point that he was Pyoam, who was appreciated as 'the head(總帥) of artistic and literary circles(藝苑)', adds more value to the future generations. 3. The characteristic of this sightseeing event was to praise the vassals' labor, who contributed to the completion of Kyujanggak, to establish King Jongjo's direct rule in the early period of seizure of power, and eojin(御眞) dosa(圖寫), etc., which expressed the King's dignity. Jongjo utilized Geumwon, a forbidden place in the palace, to give a special privilege to the vassals' effort, who took a great part in realizing his political ideal. 4. One of sightseeing lines toward the backyard of Changdeok Palace could be identified. Though the sightseeing lines toward the backyard were not fixed, however this might be the best sightseeing line which Jongjo intentionally chose to enjoy that day's flavor of autumn. 5. The characteristic of this event was informal and somewhat extemporary 'sightseeing'. Therefore, it is considered, that day's event was relatively private and free 'play(遊)', while 'sanghwaeojoyeon(賞花漁釣宴)', which Jongjo gave to the vassals middle after his reign, was a royal 'banquet', which prepared frames, such as event holding time and form, qualification for participation, e.g. flower viewing, fishing, writing poems, etc. This research has a significance that it considered the content and meaning in historical records including the front and the rear context that "Hogayugeumwongi" was written through the consideration of related historical materials. "Hogayugeumwongi" can be utilized as a material for storytelling with regard to royal garden sightseeing in future as a valuable cultural content, also, follow-up study on this is necessary.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.62-79
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• 2020

The rock-carved seated Avalokiteśvara statue at Ganghwa Bomunsa Temple is a giant rock-carved Buddhist statue that was built in 1928 during the Japanese colonial era. Although it is a year-recorded Buddhist statue that occupies a prominent place in modern Korean Buddhist sculpture history, it has not been the subject of in-depth discussion due to weak research on modern Buddhist sculptures. In this study, to examine the various significant aspects of the rock-carved Seated Avalokiteśvara statue at Bomunsa Temple as a modern Buddhist sculpture, I have managed to determine its construction year, artificers, and patrons by deciphering the inscription around the rock-carved statue; in addition I have researched the effects of the rock shapes and landforms on the formation of the Buddhist statue by comparing and analyzing the points of view of both artificers and worshipers. I have also identified the specific circumstances of the time of construction from interviews with the descendants of artificers. A monk from Geumgangsan Mountain, Lee Hwaeung, took the role of sponsor and chief painter to construct the rock-carved seated Avalokiteśvara statue at Bomunsa temple. In the beginning of its construction in 1928, more than 100 donators jointly sponsored the construction of the statue. Gansong Jeon Hyoungphil sponsored alone at the time of the place of worship's expansion in 1938. Bomunsa Temple has been regarded as one of the top-three sacred places of Avalokiteśvara Bodhisattva together with Naksansa Temple in Yang Yang and Boriam in Nam Hae, due to the construction of the rock-carved statue. It took about three months to construct the statue. Lee Hwaeung drew a rough sketch and then Un Songhag and five masons from Ganghwa Island took part in the carving process. We can observe the line drawing technique around the rock-carved statue because the statue was carved based on the rough sketch of the monk painter. The aspect of Lee Hwaeung as a painter is revealed; therefore, we can identify the clue of painting pattern leading to Seogongchulyou- Hwaunghyoungjin- Ilonghyegag. The rock-carved seated Avalokiteśvara statue at Bomunsa Temple is a typical Avalokiteśvara that wears a jeweled crown and holds Kundica. It makes a strong impression as it has a big square-shaped face and a short neck and is unsophisticated in general. The artificers solved the issue of visual distortion of the rock-carved statue caused by carving on a 10-meter high and 40-degree sloping rock by controlling motion to its maximum, omitting detailed expression by emphasizing symmetry, and adjusting the head-to-body proportion to be almost one-to-one. In this study, especially, I presume the unified form of sacred sculptures and Buddhist altars, without making a Buddhist altar like the rock-carved seated Avalokiteśvara statue at Bomunsa Temple, to be a key characteristic of modern Buddhist sculptures. Furthermore, I make newly clear that the six letters of Sanskrit carved on nimbus, which had been interpreted as a Six-Syllable Mantra, are a combination with Jeongbeopgye and Sabang Mantras. In addition, three iron rings driven on eaves rock were used as a reference point, and after construction they were used as a decoration for the Bodhisattva with hanging wind chimes.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.224-243
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• 2020

The rock-cut relief of two Buddhas seated side-by-side in Wonpungri is a large Buddha sculpture in relief on the side of a cliff in Wonpung-ri, Goesan. This Buddha sculpture is from the Buddhist scripture Sutra of the Lotus. <法華經> Two seated Buddhas statues were prevalent in the Balhae Kingdom, but this was not popular in Silla and Goryeo. In the main text, the time that the two seated Buddhas in Wonpung-ri was created is identified as being during the 10th century. King Gwangjong created a Buddha statue for political purposes. The relief of two seated Buddha image carved on a cliff is located on an important traffic route over the Sobaek Mountain Range. After King Gwangjong took the throne, he paid close attention to the reigning powers of Jincheon and Cheongju because the people of Jincheon and Cheongju were engaged in a power struggle against Gwangjong. The huge relief of two seated Buddhas statue shows the authority of King Gwangjong. In particular, the people of Jincheon and Cheongju had to see this Buddha statue when crossing the Sobaek Mountain Range. The image contained in the relief of the two seated Buddhas features many characteristics of the sculpture style of the Balhae Kingdom. After the fall of Balhae, many of the Balhae people settled in Mungyeong. Balhae people from Mungyeong participated in the production of the relief of the two seated Buddhas. Through the relief of the two seated Buddhas, King Gwangjong wanted to show the people of Jincheon and Cheongju that the Balhae people were supporting him. The relief of two seated Buddhas reflects the historical situation of the King Gwangjong era in the late 10^th century and the style of sculpture.

• Journal of Conservation Science
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• v.25 no.2
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• pp.207-217
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• 2009

After replicating 10 bronze types such as Gyemija, Gyeongjaja, Eulhaeja, etc. before the Imjin war, we studied the change of microstructure from each casting process, method, and alloy ratio by Gyechukja replicated from "Donggukyeojiseungnam". We selected the average of compositions of Eulhaeja in the National Museum of Korea as the standard(Cu 86.7%, Sn: 9.7%, Pb: 2.3%) of bronze types, so we decided on the alloy's composition of Cu 87%, Sn 15%, Pb 8% added to 5% Sn and Pb contents because of evaporating the Sn and the Pb. Before replicating major metal types, we made master-alloy first, melting it again, and then replicated metal types. The composition of the 1'st replicated Gyechukja showed the range of Cu 85.81~87.63%, Sn 9.27~10.51%, Pb 3.05~3.19%. The 2'nd replicated Gyechukja made using the branch metal left after casting the 1st replica. The 2nd replicated Gyechukja showed the composition range of Cu 87.21~88.09%, Sn 9.06~9.36%, Pb 2.80~3.05%. This result decreases a little contents of Sn and Pb as compared with metal types of the 1st replica. However, it's almost the same as the Eulhaeja's average composition ratio in the National Museum of Korea. As a result of observing the microstructure of restored Gyechukja, it showed the dendrite structure of the typical casting structure and the segregation of Pb. There is no big difference of microstructure between the 1st and the 2nd restored metal types, even though the 2nd restored types partially decreases the eutectoid region in comparison with the 1st types. The systematic and scientific restoration experiment of metal types using Joseon period will be showed the casting method and alloy ratio, and this will be of great help to the study of restoration metal types in the future.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.206-225
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• 2019

This paper examines the trade and development aspects of glass mirrors through the literature records of the Joseon Dynasty, and studies the characteristics of existing glass mirror crafts by referring to the terms and types shown in the literature. The glass mirror in the records had called western mirrors(西洋鏡, 洋鏡), glass mirrors(玻璃鏡, 玻瓈鏡), stone mirrors(石鏡), etc. Glass mirrors were imported mainly through trade with Russia and the Qing Dynasty since the 17th century and were banned from importation in the late Joseon Dynasty. These mirrors were something new that caused a great stirring in Joseon society in the 18th century, and in the 19th century, it grew larger as a commodity needed for everyday life, especially with trade with Japan. At that time, glass mirrors were used for various purposes, such as installing large glass at a store, which were not the standard mirror usage of confirming one's appearance. These mirrors surprised Koreans in Joseon who experienced them at Yanjing Liulichang(燕京 琉璃廠) in the 18th and 19th centuries. As a result, the demand for glass mirrors rapidly increased and quickly surpassed that of bronze mirrors. Consequentially, new crafts using glass mirrors instead of bronze mirrors in Joseon began to be produced and used after the 18th century. In particular, integrated flat boards of glass mirrors were developed as crafts used indoors. It was convenient to use the hair comb box, a long-time presence in Joseon society, with the bronze mirror. This kind of mirror remained apparent in various genre paintings, including the Taepyeong Seongsido(太平城市圖, 'A Thriving City in a Peaceful Era') collected the National Museum of Korea which reflect its populism of the times. Also, the Mirror Stand(鏡臺) used in the Qing Period was produced in Joseon, but there was a difference in the way of making the drawers and box shapes between two nations. On the other hand, the Face Mirror(面鏡) was made to look at the face. Various crafts made with the aesthetic sense of Joseon, such as the ox horn inlaying craft technique, were produced with auspicious designs. In the 19th century, glass mirrors were imported from European countries, such as France, Denmark, the Netherlands, and the United Kingdom, however after the end of the 19th century Japanese crafts were popular. Glass mirrors, which were popular in the Meiji and Taisho eras of Japan, were imported and also the Mirror Screen(鏡屛) using large glass mirrors were used. In particular, the mirror screen had developed wood furniture since the previous time, which were used for banquets and large spaces, such as the drawing room, and were imported from China and Japan. In addition, the western architectural effect of attaching a mirror to the wall was also attempted to adjust the brightness of the space and introduce another image and scenery in the mirror. This was done at Deoksugung Palace's Seokjojeon.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.142-154
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• 2012

This study aimed at learning the characteristics of place identity of the Buan county hall garden and Sangsosan(上蘇山) by looking over the pattern and content of letter-engraved rocks and nearby facilities and history. Especially, we focused on the meaning and contents of the letters in Sangsosan and a Government Office of Buan engraved on rocks in order to learn what the place means. The results of our study are as follows. Buan-hyun(扶安縣) in the Joseon dynasty period blossomed literary culture of enjoying poetry and melody, and this was faithful realization of the concept of "Rakto(樂土)" of 'Saengubuan(生居扶安).' The grand scale letters written by Si-SooPark(朴蓍壽: 1767~1876), head of the office in the early 19th century, in the cursive style on the basis stone of the garden of Buan county building, which was the site of the office of Buan-hyun in the Joseon dynasty period, such as 'Bongraedongcheon(蓬萊洞天)', 'Jurim(珠林)', and 'Okcheon(玉泉)' mean that "'Bongrae', the another name of Buan', is a place where Taoist hermits would live because the spring water of Seorim flows down to be Okcheon.", showing his pride of living Buan. The regions like Seorimjeong, Geumdae(琴臺), and Hyecheon(惠泉) where letters engraved on rocks are located intensively are closely related with those who communicated with Mae-ChangLee(李梅窓: 1573~1610), the slave of the government, and are local attractions and garden traces where the literary culture and scholar's spirit of Buan are well-harmonized. Most of the letters were written from the 19th century to the early 20th century, showing that 4 for landscapes, 8 for Kyungseck(景色: imaginary scenry), 5 for figures, 15 for poems and 2 for others. The ratio of poems is much higher than that of poems in other regions' letters on rocks, and the keyword of the letters is Haecheon. A piece of the place identity heavily influenced by the Taois thermit ideology is revealed by the expressions of 'Bongraedongcheon', 'Sosansaho(蘇山四皓)' or 'the spring water of Haecheon' that was considered as an elixir of Taoist hermits. Seorim the forest, which had been managed after Yeon-Myeong Cho(趙然明: 1797~?), head of the office, planted trees in the 11th year of the reign of King Heonjong(1845), Seorimjeong in the forest, and rocks with engraved letters on them are proof of literary culture and the garden traces showing the characteristics and aspect of Imcheon(林泉) Garden of the office heavily influenced by the Taoist hermit ideology. Along with Naebyeon-san national park and Kyeokpo region, the center of Buan tourism, we hope that cultural heritages including rocks with engraved letters over Seorim park would become a representative cultural heritage and attraction of Buan.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.1
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• pp.25-35
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• 2017

The purpose of this study is to re-exam of the modern values of a moat to utilize it with various functions such as a military defense on the outskirts of the castle, dividing the space by its boundary, controlling the micro-climate in the worsening modern environment with temperature rise due to climate change and habitat reduction of animals, and providing the habitat of animals to modern urban space, etc. The scope of the study is focusing on the castles with the moat installed to prevent the enemy from accessing directly to the wall using a pond or water path for military defense on the outskirts of the castle or to divide it into boundaries. In the Orient, the Nakan Eupseong, Haemi Eupseong, Gyeongju Wolseong in Korea and the Forbidden City in China, and Nijo Castle and Osaka Castle in Japan were selected. In the West, Edinburgh Castle in Britain, Blois Castle in France, Chillon Castle in Switzerland, and Frederiksborg Castle in Denmark were selected for the study. As a research method, literature research and field research were conducted. For the Orient, it was conducted in parallel with the literature research and field research. For the western, it was mainly conducted with literature research. For the literature research, the origin of the moat, the concept of the moat, the function of the moat, the history and culture of the western moat are based on the data from the related institutions and previous studies. For the Orient field research, exploring was conducted in two to three times from Jan. 2016 to Dec. 2016 in each of the target areas of Nakan Eupseong, Haemi Eupseong, Gyeongju Wolseong in Korea and the Forbidden City in China, and Nijo Castle and Osaka Castle in Japan. The contents of the research were analyzed through interviews, photographs, measurements, and observations on the function, size, and characteristics of the moat of each target. The results of this study are as follows. The moat was a structure installed to set a boundary for military defense facilities on the outskirts of a castle and it played an important role as a part of the city in the ancient times of Asia and the West through the Middle Ages. The role of the moat is gradually disappearing due to the disappearance of the purpose of military defense. However, moats are excluded from modern landscape planning, despite the fact that a moat filled with water is a hydrophilic space with great historical and cultural value such as various cultural activities and providing habitats for animals. By reflecting on the moats various functions in modern cities and utilizing it, it is expected to be utilized to bring pleasant air into the city where the circulation of air is blocked and energize the city as a hydroponic element.

• Journal of Conservation Science
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• v.31 no.1
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• pp.37-46
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• 2015

In the case of adhesives & restoration agents currently being used for the preservation treatment of ceramics and earthenware, epoxy type, cellulose type and cellulose type are mainly being used. However, they are showing various problems such as re-detachment from severe contraction, color change from yellowing, work inconvenience of staining on tools and hand during usage and irreversibility. For the purpose of solving the issues of yellowing and irreversibility of epoxy resin being used to restore ceramics, urethane synthetic resin with low yellowing excellent reversibility has been developed in this study. The adhesive strength of urethane resin that has been developed has excellent properties with 2.07MPa for undiluted solution, which is 1.5 times higher than that of existing material EPO-$TEK301^{(R)}$ 1.21MPa. The result of workability measurement showed that the wear rate of urethane resin (in Talc 50wt%) was 1.09%, which was somewhat higher than that of existing material Quick $Wood^{(R)}$ (1.02%). In addition, its wear rate is two times higher than that of $EPO-TEK301^{(R)}$ (0.41%) and $L30^{(R)}$ (0.39%), thereby showing an advantage in its forming process compared to existing materials. As for the advantage of urethane resin of reversibility experiment, 12 hours after acetone, ethyl alcohol deposition, urethane resin and filler talc were dissolved 100% while showing powdering phenomenon. Compared to 0% reversibility of existing epoxy resin, it has much superior reversibility. The result of UV rays experiment to evaluate its durability showed that ${\Delta}E^*ab$ color change value based on undiluted solution of urethane resin was 2.76 before & after UV rays exposure, which was a decrease by about 7-20 times compared to that of existing resin, thereby minimizing the issue of heterogeneity.

• Korean Journal of Heritage: History & Science
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• v.53 no.2
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• pp.4-23
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• 2020

The purpose of this study was to explore the diversity of Korea's iron casting technology and to examine various casting methods. The study involved a literature review, analysis of artifacts, local investigation of production tools and technology, and scientific analysis of casting and cast materials. Bellows technology, or Bulmi technology, is a form of iron casting technology that uses bellows to melt cast iron before the molten iron is poured into a clay cast. This technology, handed down only in Jeju Island, relies on use of a clay cast instead of the sand cast that is more common in mainland Korea. Casting methods for cast iron pots can be broadly divided into two: sand mold casting and porcelain casting. The former uses a sand cast made from mixing seokbire (clay mixed with soft stones), sand and clay, while the latter uses a clay cast, formed by mixing clay with rice straw and reed. The five steps in the sand mold casting method for iron pot are cast making, filling, melting iron into molten iron, pouring the molten iron into the cast mold, and refining the final product. The six steps in the porcelain clay casting method are cast making, cast firing, spreading jilmeok, melting iron into molten iron, pouring the molten iron, and refining the final product. The two casting methods differ in terms of materials, cast firing, and spreading of jilmeok. This study provided insight into Korea's unique iron casting technology by examining the scientific principles behind the materials and tools used in each stage of iron pot casting: collecting and kneading mud, producing a cast, biscuit firing, hwajeokmosal (building sand on the heated cast) and spreading jilmeok, drying and biyaljil (spreading jilmeok evenly on the cast), hapjang (combining two half-sized casts to make one complete cast), producing a smelting furnace, roasting twice, smelting, pouring molten iron into a cast, and refining the final product. Scientific analysis of the final product and materials involved in porcelain clay casting showed that the main components were mud and sand (SiO₂, Al₂O₃, and Fe₂O₃). The release agent was found to be graphite, containing SiO₂, Al₂O₃, Fe₂O₃, and K₂O. The completed cast iron pot had the structure of white cast iron, comprised of cementite (Fe₃C) and pearlite (a layered structure of ferrite and cementite).